Chasing Agent Freegard, which Norton will also executive produce through his recently-launched outfit Rabbit Track Pictures, comes from Captain Phillips co-producer Michael Bronner, and is based on the ...

Underscoring the strength and scope of French fashion designer Jean Paul Gaultier’s legacy around the world, the documentary “Jean Paul Gaultier Freak And Chic,” which chronicles the making of Gaultier’s ongoing popular show in Paris, has been luring distributors in key markets.

The adrenaline-pumping Netflix original film “Close” puts the stress of the bodyguard world center stage. Helmed by writer/director Vicky Jewson and starring Noomi Rapace the film is inspired by real-life events involving the world leading female bodyguard Jackie Davis.

Read More: The 100 Most Anticipated Films Of 2019

Sam Carlson (Noomi Rapace) is a counterterrorism expert at the top of her field.

Casey Affleck has been relatively quiet since winning an Oscar for his leading role in “Manchester by the Sea,” but he’s about to break his silence in a big way. The actor is making his narrative directorial debut with “Light of My Life,” which was just added to the Panorama section of next month’s Berlin Film Festival. Affleck stars alongside Elisabeth Moss and newcomer Anna Pniowsky in the post-apocalyptic drama, which tells of a “society without women” where “gender roles have to be renegotiated.”

Aldemar Matias delivers this delicate, sensitively filmed family portrait from Cuba. The life of competitive athlete Jenniffer is on the brink of change, just like the whole country. She is poised on the starting blocks – and not just in the 100-meter dash.

A year and a half after “Baby Driver” raced into theaters, Edgar Wright has shared a few salient details about his next project. The “Shaun of the Dead,” “Hot Fuzz,” and “Scott Pilgrim vs. the World” director tells Empire that he’s working on a psychological horror film set in London that will star a female lead. As inspirations for the film, he cites two classics: Roman Polanski’s “Repulsion” and Nicolas Roeg’s “Don’t Look Now.”

“I realised I had never made a film about central London — specifically Soho, somewhere I’ve spent a huge amount of time in the last 25 years,” Wright tells the magazine. “With ‘Hot Fuzz’ and ‘Shaun of the Dead’ you make movies about places you’ve lived in. This movie is about the London I’ve existed in.”

It isn’t his only project in the works, as Wright confirms that “a first

Nearly three years after the female-led “Ghostbusters” reimagining arrived in theaters, the supernatural comedy franchise remains controversial. Suffice to say that Leslie Jones, who starred in the most recent iteration of the series and dealt with much of the sexist backlash directed toward it, is none too pleased with the news that “Juno” and “Up in the Air” director Jason Reitman is set to write and direct a new sequel. On Twitter, the “Saturday Night Live” actress called the new film not only “insulting” but also “something Trump would do.”

“So insulting. Like fuck us. We dint count. It’s like something trump would do,” she wrote. ‘(Trump voice)”Gonna redo ghostbusteeeeers, better with men, will be huge. Those women ain’t ghostbusteeeeers’ ugh so annoying. Such a dick move. And I don’t give fuck I’m saying something!!”

“Roma” was the big winner at the Latino Entertainment Journalists Association’s inaugural film awards, picking up a slew of prizes: Best Picture, Director, Actress, Original Screenplay, Production & Set Design, Cinematography, Editing, Sound, and Foreign-Language Film. Alfonso Cuarón’s black-and-white period piece has dominated this side of awards season, taking home top prizes from critics’ groups in Los Angeles, New York, and London, among others.

Also popular among the Leja was “If Beale Street Could Talk,” which won Best Supporting Actress for Regina King, Best Adapted Screenplay for Barry Jenkins, and Best Music for Nicholas Brittell. Full list of winners below.

It would appear that the Razzie Awards had its fair share of terrible films to choose from last year. And as the nominees showcase, this year’s Razzies seems to be going across all genres and even venturing into the political realm to highlight the very worst that Hollywood had to offer last year.

The Razzies have announced their nominations “honoring” the worst films of the year, and as usual they’re plucking the low-hanging fruit. “Gotti” and “Holmes & Watson” have the dubious honor of leading all films with six nods each, including Worst Picture; “The Happytime Murders,” “Robin Hood,” and “Winchester” are also up for the top prize, with Donald Trump somehow landing a nomination as well.

Avail yourself of the full list below. The winners will be announced on February 23, which, not coincidentally, is the day before the Oscars.

If you’re a fan of spy thrillers, and just high-quality action films in general, you’re probably psyched by the news that filmmaker Christopher McQuarrie is coming back for two new “Mission: Impossible” sequels. And if you’re a fan of government lackeys, as well as men with reloading arms and controversial mustaches, then you will really love this next bit of ‘M:i’ news.

According to THR, McQuarrie is not only interested in bringing back the government guy character played by Alec Baldwin, but also Henry Cavill’s August Walker.

We are fast approaching the five-year anniversary of the first time we reported that Channing Tatum is in line to play the “X-Men” character Gambit in a solo film. Since then, the film project has gone through constant changes, gaining directors, losing directors, getting a scheduled release date, and then, of course, losing that release date. But through thick and thin, one thing has remained the same – Tatum.

He’s tackled horror-comedy, action-comedy, alien-comedy, and of course, most recently, heist-thriller…sorta comedy. Next, for filmmaker Edgar Wright, he’s going to tackle a genre that is devoid of comedy and is apparently, a straight-up psychological horror-thriller.

According to an interview with Empire, Wright discussed his idea for a new film, and also gives an update about the status of a potential “Baby Driver 2.” First things first, however, the filmmaker talks about his next project and his inspirations for the film.

Continue reading Edgar Wright Says Next Film Is A Psychological Horror-Thriller Along The Lines Of ‘Repulsion’ & ‘Don’t Look Now’ at The Playlist.

One of the big stories of 2019, so far, is the news that disgraced animation guru John Lasseter was given a second chance at a career with his recent hiring at Skydance Animation. After being dismissed by Disney/Pixar, as multiple allegations of sexual misconduct surfaced, many assumed that the executive would quietly fade away into obscurity. Instead, he landed a high-profile job at a fairly large studio. And according to Lasseter collaborator, and ‘Incredibles’ filmmaker, Brad Bird, there’s nothing wrong with that.

Continue reading Brad Bird Defends Fired Pixar Boss John Lasseter & Doesn’t Think He Should Be Compared To Harvey Weinstein at The Playlist.

Remakes and reboots are generally met with eye rolls from film fans. Unless the remake is damn near perfect, most of the fans of the original film will look at it with disdain. But normally, when you have a remake or reboot, the filmmaker behind the original work that is being redone is able to see the merit and says something nice about the project. That is, unless your name is Dario Argento and you’re asked about Luca Guadagnino’s recent “Suspiria” reimagining.

Continue reading Dario Argento Says Luca Guadagnino’s ‘Suspiria’ Remake “Betrayed The Spirit Of The Original Film” at The Playlist.

When it comes time to “punish” the image of a film, say with filtration, grease (generously applied to the front of the lens), or underexposure, cinematographers regress from their dear and safe technical jargon and assume the barbarous dialect of medieval executioners. They don’t just underexpose their picture to see how it reacts under strain, they “suffocate” it, “break” it, and “destroy” it — sometimes in spite of itself. The digital image is nary embraced and mostly worked against, its sterile lines deliberately corroded and beaten to a duller moosh. Cinematographer Lol CrawleyBsc tortures the film […]

When it comes time to “punish” the image of a film, say with filtration, grease (generously applied to the front of the lens), or underexposure, cinematographers regress from their dear and safe technical jargon and assume the barbarous dialect of medieval executioners. They don’t just underexpose their picture to see how it reacts under strain, they “suffocate” it, “break” it, and “destroy” it — sometimes in spite of itself. The digital image is nary embraced and mostly worked against, its sterile lines deliberately corroded and beaten to a duller moosh. Cinematographer Lol CrawleyBsc tortures the film […]

Would you believe me if I told you that one of the most transcendent moments in contemporary cinema is soundtracked by the Moody Blues? Nothing against the English arena rock stalwarts, who last year were inducted into the Rock and Roll Hall of Fame, but even in the late 1960s, at the absolute height of their powers as progenitors of an eternally (and proudly) unfashionable progressive rock sound, the Moody Blues were anything but cool. Which is to say, then as now, they’re not exactly the first band you’d expect to hear in a movie, let alone a French movie set in an early 20th century brothel. Director Bertrand Bonello used the Moody Blues to spectacular effect in his 2011 masterpiece House of Tolerance, a feverish evocation of fin de siècle Paris in which period perfect detail and flagrant artifice collide in a of slipstream of pre- and postmodern aesthetics.

Anaphora is an on-going series of video essays exploring the neglected films by major directors.It's always stunning to look back on film history and see who was in need of a comeback and why. Martin Scorsese's influence, his style as a filmmaker and his service to film preservation and history, is taken for granted today. In the late 70s and early 80s every stop light was red. New York, New York was a huge comedown after Taxi Driver, Raging Bull was a modest success at best, The King of Comedy bombed, After Hours made its budget back and then vanished, and Last Temptation of Christ was mired in controversy that hurt its box office. In the middle of all this was The Color of Money, probably the last thing anyone expected him to make: A sequel to Robert Rossen's The Hustler starring original lead Paul Newman and

Hoo boy, a whole lot happened in “True Detective” this week! Turns out the Purcell kids didn’t go over to Ronnie’s house as many times as they say they did — so who were they seeing? The evidence in William’s recovered backpack points to an adult — who else would buy all those toys for him? How does the communion photo figure into all this, given Will’s body was left in a similar, praying pose after his death? And what about the dice, the bloody rocks, and the house near the suspected murder site? Speaking of the woods, what did Wayne (Mahershala Ali) leave in the woods? Amelia’s ghost seems to think he’s covering something up, so it’s not just the aging detective’s deteriorating memory that’s holding up the investigation. Plus, now there’s a mysterious

Someone should coin a specific term for the unusual mélange of magical realism, biting social-commentary and the surreal existential absurdism of “Atlanta,” if only so I can reapply said term to Showtime‘s fierce and funny “Smilf,” a series that came to similar ideas on its own, but filtered through an unapologetically raw feminist lens of struggle, heartbreak and hilarity. Season one already featured these disparate, idiosyncratic elements, brilliantly fusing them with painfully sharp observations and deep wells of empathy.

Continue reading ‘Smilf’ Does ‘Atlanta’s’ Social Surrealism For Struggling Single Moms With Similar Shimmering Brilliance [Season 2 Review] at The Playlist.

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